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Melmoth’s journey to France
Catherine Lanone

1 ‘In literary histories, Melmoth the Wanderer (1820) often marks the end of the Gothic romance proper, as a genre’ (Sage 2000 : vii). 2 This is taken from an essay on Théodore de Banville which was first published in 1861. 3

in European Gothic
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Lee’s Kruitzner and Byron’s Werner
Robert Miles

‘subtext’ means. It is not simply that the ‘narrator’ (Lockwood) is unreliable; he is unreliable in a way that directly challenges the reader. Such irony becomes endemic within American Gothic. ‘Romance and poetry, ivy, lichens, and wallflowers need ruin to make them grow.’ So Hawthorne on the difficulties of writing romance in a country of ‘commonplace prosperity’. To persist in a form which required

in Gothic writing 1750–1820
Open Access (free)
‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott
Christina Morin

Price thus views Longsword as an allegorical critique, however ‘politically cautious’, of existing political structures in Britain. 49 Watt, meanwhile, understands the text as foundational in the establishment of what he calls ‘the Loyalist Gothic romance’. 50 Such fiction, Watt explains, concerns itself with ‘an unambiguous moral and patriotic agenda’ in the wake of the Revolutionary War in America and in the face of ongoing concerns about France. In this scenario, Leland's novel is undeniably conservative, not subversive, and is aimed, like Clara Reeve's later

in The gothic novel in Ireland, c. 1760–1829
Open Access (free)
Romances, novels, and the classifications of Irish Romantic fiction
Christina Morin

Earl Strongbow as an amusing publication able to teach its readers much about the past: ‘we have been entertained with the tale. It is not an eventful story to please general readers; but we think many will be instructed in some points of history by it, and particularly in the manners of their ancestors’. 4 The Gentleman's Magazine , in contrast, emphasised the novel's romantic quality, introducing Earl Strongbow as an ‘imitation of Gothic romance possess[ing] a degree of merit which ought not to pass unnoticed’. 5 And, where The Critical Review had found the

in The gothic novel in Ireland, c. 1760–1829
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E.J. Clery and Robert Miles

the Gothic era as senseless barbarism. But Hurd goes further and claims that Gothic art and literature follow aesthetic principles which are wholly different from those of classicism, but no less valid. Using Spenser’s The Faerie Queene as his chief example, he claims that Gothic romance is to be preferred to the classical epic for its flights of fancy and sublimity. The ‘good sense’ of the modern

in Gothic documents
Alice Munro and Lives of Girls and Women
Susanne Becker

female childhood and youth is thus ‘magnified’ and with characteristic hyperbole transformed into a gothic romance. This becomes one of the patterns operative in all Del’s writing of the female lives around her. Hyperbole in this sense also marks her gothic auto-graph. The effect is interesting: the hyperbole of the daughter’s story reveals the understatement of the mother’s tale

in Gothic Forms of Feminine Fictions
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White male vulnerability as heterosexual fantasy
Susanna Paasonen

. Meanwhile, ‘Love enables the pressure of desire’s aggression to be discharged within a frame of propriety’ (Berlant, 2012: 25). All this finds an incarnation in the damaged, needy Christian haunted by memories of his mother, practising structured BDSM routines as a means of self-​therapy and moving into the security of proprietary monogamy in the course of romance. FANTASY BEYOND TRAUMA In her analysis of the series, Illouz identifies it as a genre hybrid combining Gothic romance with self-​help. For Illouz (2014:  30), it primarily offers a social fantasy rather than a

in The power of vulnerability
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Enlightenment, automata, and the theatre of terror
Victor Sage

. La Religieuse has, of course, long been recognized a source text for the Gothic Romance, even though, not having come out in French until 1796, it could not have influenced Ann Radcliffe’s Mysteries ofUdolpho (1794) (Praz 1930 :496). In Diderot’s novel, the notion of the automaton is linked to the system of an anti-society of isolated Cartesian cells, and becomes associated with horror and

in European Gothic
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Exploring sites of the Canadian ecoGothic
Alanna F. Bondar

* * * In Femicidal Fears (2001), Helene Meyers explores the intimate relationship between feminine-identified terrors associated with the Gothic mode and the ways in which, historically, ‘the Gothic romance has been preoccupied with women’s economic, psychological, and physical vulnerability’. 27 Canadian novelists Nancy Huston ( Instruments of Darkness ) and Lola Lemire Tostevin ( Frog Moon

in Ecogothic
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Digital memory and salvation
Stephen Curtis

. Botting, F. (2008b), Gothic Romanced: Consumption, Gender and Technology in Contemporary Fictions , London and New York: Routledge. Derrida, J. (1996), Archive Fever: a Freudian Impression , trans. E. Prenowitz, Chicago and London: University of Chicago Press

in Monstrous media/spectral subjects